I called this piece 3-In-1 done in 1994, a fake Joseph Kosuth. Actually it was a restaging of the Kosuth piece that put the three separate elements (photo, chair, Photostat) into a frame making it into a single discreet art object. The original piece by Kosuth titled, One In Three Chairs has three separate parts.

+[r]egress_substancing+ reblogged as read only
[full-version @: http://disapposable.blogspot.com/]
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breathing.in::small>curved>sub[limation]route[ine]s
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+searching::burst.hurricane.th[n]oughts>past+presenting
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+[k]it[ten].drowning::broken.sub[im]mersion>files
.+dragging.arousal.bones::2.sa[on]line>tear_taste>struts

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There were points in the early 90’s, when New Media was called Cyberarts, when I had not thought about the role fo the later sage New Media artist. What do I mean by this? When I speak of the later-stage New Media artist, I’m talking about the artist in their late 40’s or even 50’s who has a different set of experiences and skills than the 20-something who is whipping together amazing code-based works. It’s my belief that not only do their mental processes necessitate different practices, but their experiences provide a different civic responsibility for their utilization. However, this also necessitates a delicate statement to be made regarding the role of that artist in the creative process as well.

A publication of –empyre- soft-skinned space

Sydney, Australia

July 2006

A collaboration with documenta 12 magazine project

Featuring special guests

Michele White
Tina Gonsalves
GH Hovagimyan
Susana Mendes Silva
Conor McGarrigle
Jordan Crandall

And moderator Christina McPhee

On the topic

“what is bare life?”

edited linear pdf from the original hypertext archived at https://mail.cofa.unsw.edu.au/pipermail/empyre/2006-July

My thanks to the editor for pointing out the part of my last post that had some legs...
I'm working on the '70s now, and am never unsurprised how certain problems and conversations reassert themselves. (Oh yes, it’s structural, and the structure becomes clear through the repeated refrain.) In this case it is the late '60s reluctance of U.S. museums to exhibit "tech art," work which then consisted of installations and environments, proto-interactive, with lots of lights, pneumatics and computer control. Collective resentment at this refusal was one grievance leading to the formation of the Art Workers Coalition in New York. Today U.S. museums refuse to have much to do with "relational" work, or, er, social sculpture, the construction of situations – this very vagueness of its naming shows that the museums have copped out. The only way this kind of work comes into institutions at all is under cover of technology. Then it is sidelined into the video/film and media program, with participation limited to the geekily inclined among the museum audience.

This from Isabel Arvers news letter:

Conference In Brussels + presentation & screening of a documentary about art & games : "8bit: the movie" by Martin Ramocki.
Art + Game: performances, exhibit and talks of Jodi, Angelo Vermeulen & Louis Blackburn, //////////fur///, Toshio Iwai, Julian Oliver, Walter Langelaar, Xavier Lardy, Régine Debatty (we-make-money-not-art), DMG Plantlife, _djèz_, M-.-N,...

Le 3 décembre, j'introduirai le documentaire "8bit: the movie" de Martin Ramocki par une présentation sur la relation art et jeux vidéo dans le cadre de l'événement Art + Game qui réunira Jodi, Angelo Vermeulen & Louis Blackburn, //////////fur///, Toshio Iwai, Julian Oliver, Walter Langelaar, Xavier Lardy, Régine Debatty (we-make-money-not-art), DMG Plantlife, _djèz_, M-.-N,...

More infos on: http://www.imal.org/Art+Game

Han-Su Lee

Leandro Erlich

Matilde Ter Heijen

It REALLY feels dated to critique anything that contains the word Media Art nowadays. There is absolutely no reason that one can continue the ever-lasting debate on the step-daughter Media Art and why she - arguably- is yet not emancipated enough to be fully adopted into the rest of the family of all "new" Fine Arts disciplines. However, it is a boomerang question that has traveled from the West to the East. Media Art Biennials and fairs are mushrooming - and here in Seoul strongly present. ...

Recently, in a conversation that I was having on Rhizome, a colleague was mentioning that although a particular body of work wasn’t their cup of tea, that they surmised that it must have been interesting in that it must have been difficult or challenging to do. This is only one example, but it gives me a rhetorical touchstone for what seems to be a larger phenomenon.

In thinking about the creation of New Media, I’ve come across a multitude of artists who believe that the merit of a work is linked to the artist’s technical prowess and the degree of difficulty involved in the creation of the work [1]. The link of New Media Art to craft seems to elide the conversation of art and objecthood initiated in 1917 upon the fateful inscription of “R.Mutt” upon the urinal by Duchamp. And, with the force of the Conceptual Art movement in the 60’s and 70’s in working to problematize the whole idea of the art object, why does a material discourse (i.e. craft) reemerge in a de-objectified movement like New Media? This is a (somewhat) puzzling phenomenon.